Fundamental Listening Skills

Harmonic Series (Reference)

Harmonic Partials on a String

Piano Pitch vs Frequency Map

ISO Octaves	ET Frequency	Pitch
63	61.7	B1
125	123.5	B2
250	246.9	B3
500	493.9	B4
1000	987.8	B5
2000	1976	B6
4000	3951	B7
8000	N/A	B8
16000	N/A	B9

Ranges

Spectral Balance

Spectral balance: the distribution of energy across frequency bands from ~20 Hz to 20 kHz.

Tailoring Spectral Balance for Different Music Genres

Different genres favor different balances (no single “correct” curve)
Use references and style expectations
Listen for masking (what disappears?) and buildup (what dominates?)
Use analyzers to confirm, not to decide

Shaping Spectral Balance

Equalization

Microphone Choice and Placement

Charm Studio microphone list - see frequency response patterns.
Compare mic placement with a different instrument.
Listen for proximity effect and off-axis coloration.

Indirect Factors Affecting Spectral Balance

Role of Monitors and Loudspeakers in Audio Perception

Your monitors have a “sound” (frequency response)
Your room changes that sound (especially low end)
Cross-check: headphones / second speakers / references
Make decisions at consistent listening levels

Control Room and Listening Room Acoustics

Room modes reshape bass (peaks/nulls)
Reflections reshape clarity and imaging
Speaker + listener placement matters
Translation checks beat “perfect rooms”

Sound Levels and Their Effect on Spectral Balance

Your ears change with volume (equal-loudness contours)
Do most EQ work at moderate/quiet levels
Check briefly loud (impact) and very quiet (balance)
Take breaks to avoid “ear drift”

Sound level significantly influences how we perceive the spectral balance of audio.
The Fletcher-Munson equal-loudness contours demonstrate that human hearing sensitivity varies across frequencies and changes with sound level. This implies that the same audio can sound different at varying volumes.
Mixing at high sound levels can lead to a skewed perception of low and high frequencies. Conversely, at lower levels, these frequencies might seem underrepresented.
Audio engineers should monitor and adjust mixes at various sound levels to achieve a balance that remains consistent and pleasing across a range of listening conditions. This approach helps compensate for the varying sensitivity of the human ear to different frequencies at different volumes.

Quick test: play a song very loud, then very soft. What changes first—bass, vocals, or cymbals?

Types of Filters and Equalizers

Filters remove; EQ boosts/cuts
Most common: high-pass, low-pass, shelving
Surgical control: parametric EQ (freq + gain + Q)
Visual + fixed bands: graphic EQ

Filters: Low-Pass and High-Pass

Cutoff frequency = “where it starts rolling off”
Slope = “how steep the rolloff is” (dB/oct)

Graphic Equalizers

Parametric Equalizers

Three knobs: frequency, gain, Q (bandwidth)
Low Q = wide changes; high Q = narrow changes
Use wide for tone shaping; narrow for problems

Shelving Equalizers

Shelving equalizers are often mistaken for high-pass and low-pass filters, but they differ in function. While filters remove frequencies, shelving equalizers can either boost or attenuate them.
A low-shelf equalizer affects frequencies below a certain point, and a high-shelf equalizer impacts frequencies above it, applying a uniform boost or cut across these ranges.
In consumer audio, such as home or car sound systems, shelving equalizers are commonly used for basic tone control through ‘bass’ and ’treble’ settings.
In professional recording studios, shelving filters are frequently part of parametric equalizers, offering options for adjusting the extreme low and high ends of the frequency spectrum. They provide a versatile tool for fine-tuning the overall spectral balance of a recording.

Getting Started with Practice

WebTET

Practice a little, often (10–15 minutes)
Start with octave anchors (500 Hz–2 kHz)
Keep gain/Q fixed at first; focus on recognition

Practice Types in WebTET

Match (with reference)
Match (memory)
Return to flat (undo EQ)
Absolute ID (name the settings)

Frequency Resolution

Start with 1 octave (9 anchors)
Add neighbors (1/3 octave) once anchors feel solid
Strategy: find the nearest octave, then refine
Example region: 800–1k–1.25k–1.6k–2k–2.5k

ISO Octave Frequencies (Cheat Sheet)

Managing Frequency Range

Start narrow (e.g., 500 Hz–2 kHz)
Expand outward one octave at a time
Low end is hardest (room + playback limits)
Headphones help, but have their own “curve”

In “WebTET”, users can limit the frequency range for practice, starting from a full range of 63 Hz to 16,000 Hz down to as narrow as three octaves.
Beginners are advised to start with a limited midrange, such as 500 to 2000 Hz, mastering these frequencies before expanding the range.
As proficiency improves, users can gradually include more octaves, eventually working up to the full frequency range.
Identifying low frequencies (63 Hz to 250 Hz) can be particularly challenging due to factors like inconsistent levels in music recordings, limitations of sound reproduction systems, and room acoustics. Using headphones can mitigate issues caused by room acoustics, though their frequency response should be considered. For the best results, especially in low frequencies, selecting high-quality headphones with a flat response is crucial.

Working with the EQ Practice Module

Pink noise: learn the anchors
Music: notice what changes (kick, snare, vocals, cymbals)
Compare quickly: bypass vs EQ
Keep notes: what does 500/1k/2k “feel like”?

Vowel Method (Octave Anchors)

250 Hz = [u] as in boot
500 Hz = [o] as in tow
1000 Hz = [a] as in father
2000 Hz = [e] as in bet
4000 Hz = [i] as in beet

Recommended recordings

Anderson, Arild. (2004). “Straight” from The Triangle. ECM Records. (jazz piano trio)
Blanchard, Terence. (2001). “On the Sunny Side of the Street” from Let’s Get Lost. Sony. (jazz with vocals)
Earth, Wind & Fire. (1998). “September” from Greatest Hits. Sony. (R&B pop)
Hellendaal, Pieter. (1991). “Concerto II—Presto” from 6 Concerti Grossi. Perf. The European Community Baroque Orchestra. Channel Classics. (Baroque orchestra)

Le Concert des Nations. (2002). “Marche pour la cérémonie” from Soundtrack from the film Tous les matins du monde. Alia Vox Spain. (Baroque orchestra)
Randall, Jon. (2005). Walking Among the Living. Epic/Sony BMG Music Entertainment. (roots music/bluegrass)
Steely Dan. (2000). “Gaslighting Abbie” from Two Against Nature. Giant Records. (pop)
The Police. (1983). “Every Breath You Take” from Synchronicity. A&M Records. (rock)